#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Deke DaSilva and Matthew Fox are two New York City cops who get transferred to an elite anti-terrorism squad. About this same time, an infamous international terrorist shows up in New York City looking to cause some chaos. It’s up to DaSilva and Fox to stop him, but will they be in time…?
Plot: An international terrorist has New York in a grip of panic and it’s up to Det. Sgt. Deke DaSilva to take him down.
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|6.4/10 Votes: 17,847|
|6.3 Votes: 241 Popularity: 15.561|
One of the best terrorism films made
I find Nighthawks to be one of the top three films relating to the subject of terrorism. Although many films dealing with political terror tend to either make the terrorist/hero character so grotesquely evil/good that they like cartoons (see both Under Siege films, Delta Force or Navy Seals if you want comic book terrorism), or the information relating to terrorism is inaccurate. Director Bruce Malmuth takes information from actual incidents from the 1970s (known in terror circles as Fright Decade #2), a good screenplay, true-to-life characters, and weaves them into a dramatic morality play. In a perfectly cast role, German Rutger Hauer, whose country had it’s own war against The Baader-Meihoff Gang/Red Army Faction just a decade before, is at his best as the slick, sinister freelance terrorist Wulfgar, loosely based upon real-life terrorists such as Carlos the Jackel. Persis Khambatta goes evil after Star Trek and goes it well with her portrayal as Hauer’s contact, and Nigel Davenport is excellent as the terrorists’ European nemesis, Hartman. This, in my opinion, is one of Stallone’s best performances. The rest of the cast is in fine form, even adult star Jamie Gillis as Lindsey Wagner’s oily boss. Historically factual events give this film a lot of weight. During Davenport’s briefings, actual terrorist acts are referenced, such as the Vienna OPEC Raid and the shooting of a policeman at point-blank range. In reality both acts were carried out by The Jackel himself. Slides flashed on the war show actual photos, and techniques used by terrorists are woven into this film. The only downside to this film is the removal of The Rolling Stones’ “Brown Sugar” and Keith Emerson’s (Emerson, Lake & Palmer) remake of the Yardbird classic “I’m A Man,” in favor of something totally unworthy of being put on scotch tape. Emerson’s score is a perfect marriage for the visuals in this film, and the removal of “I’m a Man” from it’s place where the hero first IDs the villain is a mistake of the first order. Since Sept. 11, terrorism has been getting a lot of attention. Hollywood will eventually get around to over dramatizing/sentimentalizing it, but even after 20 years, this film stands some pretty harsh examinations. If you’re interested in good movies about terrorism, you can’t do much better than this.
Hauer steals the show
Remember a day when Rutger Hauer starred in good movies that actually saw wide theatrical release? No. Hmmmm. Hauer is one of my favorite actors and stars in two of my top ten favorite movies (Blade Runner and The Osterman Weekend), so it’s hard not to already be slightly biased about the movie. I remember first hearing about Nighthawks on the Headliners and Legends biography of Stallone and how it was not as well received as his Rocky and First Blood movies. For shame, because Nighthawks does manage to be a top notch thriller most of the time. I could go into the plot, but I believe in telling people what I liked and disliked instead of parroting the plot details like almost every other review. (See, a movie to me is more fun when I only know a little about the story, instead of the first hour or so, because someone felt that they had to readers digest the entire film.)
Anyway, now that I’ve ranted, I have to admit that I enjoyed it for the most part, with the exception of the initial pacing. It continues to drag in places towards the middle, and takes a little over an hour to set up the crucial players backgrounds. The only real problem is that every time the film stops to focus on DeSilva (Stallone) and Fox (Williams), it spends twice as much time focusing on Wulfgar. Wulfgar is certainly a well crafted maniac, but when the movie is over we know almost nothing about Fox and only a little about Dee DeSilva. Still, the movie does succeed in making you care about our two main characters, by thrusting them into danger and having them do what is morally right (i.e. Towards the beginning of the film the two are in a drug raid, and refuse to take bribes from the perps who had apparently already paid off the cops from the first raid on their operation.
They’re good cops, and it’s their good guy image that endears them). I guess it would have been nice also to see a little more of Stallones relation to what’s her name. (sorry, I haven’t seen this in a about a month now.) I was interested in the prospect of a hero who was torn between the relation with his ex (who he was trying to re-ignite the flame with), and his duty. But, alas, she was just a narrative device who the writers have decided is only important in the last 15 minutes or so.
With all these cons, why did I still like it? Sudden scenes of high impact, good cast and acting all around, a villain who wasn’t just a cardboard cutout, and Stallone’s bitchin’ beard, and a wholly convincing scenario.
The bottom line: This film is more akin to The French Connection than it is to Rocky. Methodical and often stylish, NightHawks deserves to at least be rented and watched with an open mind.
8 Stars out of 10
Original Language en
Runtime 1 hr 39 min (99 min)
Genre Action, Crime, Thriller
Director Bruce Malmuth, Gary Nelson
Writer David Shaber (screenplay by), David Shaber (story by), Paul Sylbert (story by)
Actors Sylvester Stallone, Billy Dee Williams, Lindsay Wagner, Persis Khambatta
Production Company Universal/Universal Int
Sound Mix Mono
Aspect Ratio 1.85 : 1
Camera Panaflex Camera and Lenses by Panavision
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length 2,725 m (Sweden), 2,715 m (Norway)
Negative Format 35 mm (Eastman 100T 5247)
Cinematographic Process Spherical
Printed Film Format 35 mm